My works are experiments in photo-based and landscape portraiture. I employ concepts of war in the process of creation, charging at each painting with renderings of fantastical elements onto straightforward historical imagery, and intervening onto tranquil landscapes with drawn armies marching across the horizon.
My process is akin to a battle being waged on differing surfaces (paper vs. acetate), employing varied materials (pencil vs. sharpie) and divergent techniques (manga vs photorealism) to yield unexpected combatants (Norse Gods vs Filipino cryptids vs Nazi regiments). This springs from a child’s-view of a Philippine colonial past, in addition to an abiding obsession with Filipino, American, and Japanese visual culture, particularly comics, anime, and videogames.
Compulsive patterns, lines and obsessive detail define my work, where tables battle chairs to compete with rednecks who fight aliens who squelch sasquatches who feast on campers. Sketches and doodles—the most rudimentary expression of visual thought—burgeon into wall-size ink drawings that traverse painting.
My new black-and-white paintings evolve from a much older series of ink drawings called 'The Line Wars'. In this body of work, I return to my roots as a traditional photo-based painter, but strike out in a new direction by drawing (pun intended) from an ever-deepening well of conflict-based imagery. Paying homage to the b&w of 'The Line Wars', I withdraw color from my new paintings to focus on the starkness of the 'battle' being waged, resulting in images from world war two that collide with scenes from my-so-called-life. I'd like to think of these new works as possible scenes from an unreleased war film by John Ford, with interventions by Max Ernst.